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In the spirit of the mysterious allure of Édouard Manet's paintings, I approach psychoanalyst Jeanne Wolff Bernstein's new book, The Lure of the Gaze and the Past. I approach cautiously, not being formally trained in art history, though I am deeply appreciative of Dr. Wolff Bernstein's (hereafter JWB) teaching, scholarship, and lifetime of looking at art.1 Accordingly, my focus for the most part will be on the analytic dimensions of this rich book, with attention to viewers' relations to the two most familiar works of Manet's oeuvre, as well as his last painting:
Olympia
Déjeuner sur l'herbe
Un Bar aux Folies Bergére (1882 – the artist's final painting)